jgE&glggfl  ™ar<ia& 


tea 


Oak  Street 
UNCLASSIFIED 


spts  ♦ 


IN  THE  COLLEGE  OF 
THE  CITY  OF  NEW  YORK 
NEW  YORK,  N.  Y. 


THE 

ERNEST  M.  SKINNER  COMPANY 
BOSTON 


®®E  ®J5«AW 


MjE  ©MAN 


dl  refill 

OW  little  we  realize  the  great  changes 
distinguishing  the  modern  organ  from 
the  organ  as  it  was  in  the  day  of 
Bach!  How  limited  the  resources  of 
the  organ-builder  of  one  hundred  years  ago 
compared  with  those  of  his  successor  of  to-day! 
In  contemplating  the  possibilities  of  the  organs 
of  mechanical  actions  and  light  air  pressures, 
one  finds  little  difficulty  in  understanding  why 
few  of  the  great  masters  have  been  attracted  to 
the  organ.  The  imperishable  writings  of  Beeth- 
oven, Wagner,  Tschaikowsky,  were  conceived  in 
the  voices  of  the  orchestra,  and  without  the 
orchestra  they  would  have  been  impossible. 
Bach  wrote  for  the  organ,  but  his  are  the  writings 
of  prophecy,  and  it  remained  for  the  instruments 
.\J of  our  day  to  voice  his  greatness. 

The  spirit  of  the  twentieth  century  found  a 
promising  field  for  its  genius  in  the  unfinished 
labors  of  the  nineteenth,  and  the  king  of  instru- 
ments is  coming  into  its  own. 

The  thought  of  the  great  masters  finds  perfect 
expression  in  the  orchestra,  but  the  voice  of  the 
organ  is  full  of  appeal,  and  if  it  falls  indifferently 
upon  the  ear  of  this  generation,  it  will  find  recog- 
nition in  another,  and  help  to  make  our  day  to 
become  ancient.  The  beauty  of  the  voice  of  one 
singer  does  not  turn  us  from  the  charm  of  another, 
and  both  must  find  their  fulness  in  the  best  there 
is  in  music. 


4 

T 

6 


S*t  ®K«AN 

Breadth  of  view  must  save  the  organ  of  to-day 
from  being  ahead  of  its  time.  It  may  no  longer 
be  said  that  the  organ  is  cold,  without  tempera- 
ment, and  lacking  in  expression.  The  modern 
organ  is  abounding  in  temperament  and  virility, 
its  small  voices  are  full  of  characteristic  charm  and 
lovely  contrasts,  its  ensemble  is  rich  in  power  and 
authority,  and  the  music  of  the  masters  is  its  just 
heritage.  Its  resources  will  never  be  revealed  by 
anything  less.  The  superiority  of  the  organ  to 
the  orchestra  in  one  particular  should  balance  its 
lack  in  another,  for  none  are  insurmountable. 

The  technique  of  the  organ-builder  of  to-day 
exceeds  his  necessities.  His  judgment  must  define 
his  art,  and  his  discretion  wait  on  both. 


E.  M.  s. 


S<iit  ©MAN 


SimtrilulUirii 

HE  conditions  architecturally  and  acous- 
/ I tically  under  which  this  organ  is  placed 
are  ideal,  and  presented  an  opportunity 
for  building  a great  work  of  art.  It  is 
left  to  others  to  say  how  these  conditions  have 
been  met.  The  details  of  construction  contribut- 
ing to  whatever  degree  of  excellence  has  been  at- 
tained in  this  instrument  will  be  found  below. 

The  tone  of  the  organ,  upon  which  the  success 
of  the  instrument  depends,  is  a subject  much  more 
difficult  of  description  than  the  most  complicated 
portions  of  the  mechanism. 

There  are  no  terms  in  which  to  picture  a tone 
that  assume  a value  beyond  a generality.  We  may 
say  that  a tone  is  full,  stringy,  reedy,  or  fluty.  We 
cannot  make  a drawing  of  it,  or  a record  of  par- 
ticular value,  as  a means  of  reproducing  it  else- 
where, so  we  can  only  say  about  the  tone  of  this 
organ  that  the  voicing  has  been  done  with  most 
careful  consideration  of  the  acoustic  properties  of 
the  edifice,  and  with  a view  to  giving  it  magnitude 
befitting  its  setting.  The  scaling  of  the  pipes, 
the  weight  of  material  used,  the  proportions  of 
the' various  parts  of  each  pipe,  have  been  devel- 
oped by  the  builders,  as  the  result  of  observation 
and  comparative  records  made  during  many  years 
of  investigation. 

The  utmost  consideration  has  been  given  the 
disposition  of  the  various  departments  of  the  organ, 
in  order  that  the  tone  should  not  be  obstructed. 


OTjlE  ©St<SA?f 

Reflecting  surfaces  have  been  employed  to  throw 
the  tone  into  the  Auditorium.  The  swell  boxes 
are  of  lath  and  plaster,  substantially  backed,  as 
in  ordinary  building  construction. 

Great  care  has  been  observed  in  so  voicing  the 
stops  that  each  shall  blend  with  the  other  without 
losing  its  own  individuality.  The  aim  of  the 
builders  has  been  towards  flexibility  and  virility. 

The  dominating  note  of  the  instrument  is  cheerful 
and  buoyant.  Attention  is  called  to  the  Orchestral 
Oboe,  the  Erzahler,  the  Vox  Humana,  the  Dulcet, 
the  Tubas,  and  the  thirty-two  feet  Bombarde,  on 
account  of  their  unusual  quality  and  what  they 
contribute  to  the  resources  of  the  organ. 

The  action  is  electro-pneumatic.  Its  capacity 
for  attack  and  repetition  is  far  in  excess  of  the 
ability  of  the  player  to  overtake  it.  This  great 
speed  serves  to  make  it  sympathetic.  It  is  an  in- 
dication that  its  design  and  mechanical  principles 
are  correct;  that  the  pneumatics  have  sufficiently 
large  windways;  that  the  valves  are  properly  poised, 
not  over-weighted,  and  that  they  accomplish  their 
function  without  excessive  motion. 

The  mechanism  of  the  finest  grand  piano  is  far 
slower  and  less  responsive  than  a perfect  modern 
electro-pneumatic  organ  action.  The  pressures 
upon  which  the  organ  is  voiced  are  indicated  in  the 
specification,  a study  of  which  will  show  the  great 
possibilities  of  this  instrument.  It  should  be 
heard,  however,  in  order  to  appreciate  its  resources, 
as  the  success  or  failure  of  a work  of  this  kind  de- 
pends upon  the  way  in  which  it  is  carried  out. 


!Sm  <MS«A5f 


eiini  (M(SAN 


©tyr  (JDrgatt  ttt  tljr  (grrat  Ufall 
(ftfUrgr  of  the  (Citg  of  Nrw  fork 


^grriftratunt 


(great  (Organ  (61  notes) 


Feet 

1.  Diapason  ...  16 

2.  Bourdon  ....  16 

3.  First  Diapason  . 8 

4.  Second  Diapason  8 

5.  Third  Diapason  8 

6.  Gross  Floete  . . 8 

7.  Gamba 8 


8.  Gedackt 

9.  Erzahler 

10.  Octave  . 

11.  Flute  . 

12.  Fifteenth 

13.  Trumpet 


Feet 

8 

8 

4 

4 

2 

8 


S»mrU  (Organ  (61  notes) 

Feet 


1.  Bourdon  . . . . 

2.  First  Diapason  . 

3.  Second  Diapason 

4.  Gross  Floete  . . 

5.  Gedackt  .... 

6.  Spitz  Floete  . . 

7.  Salicional  . . . 

8.  Viol  d’Orchestre 

9.  Voix  Celestes  . . 

10.  Aeoline  .... 

11.  Octave 


16 

8 

8 

8 

8 

8 

8 

8 

8 

8 

4 


12.  Flute  

13.  Salicet 

14.  Flautino  . . . . 

15.  Cornet  (3  ranks) 

16.  Trumpet  . . . . 

17.  Cornopean  . . . 

18.  Horn 

19.  Oboe 

20.  Vox  Humana  . . 

21.  Clarion  . . . . 
Tremolo 


Feet 

4 

4 

2 

16 

8 

8 

8 

8 

4 


mmMi 


(ttltnir  ©rtjatt  (61  notes) 


I.  Dulciana  . . 
Diapason 
Gamba  . . 
Concert  Flute 
Dulciana  . . 

6.  Unda  Maris 

7.  Quintadena  . 


Feet 

l6 


8.  Flute  . 

9.  Violino 

10.  Piccolo 

11.  Fagotto 

12.  Clarinet 

13.  Orchestral 
Tremolo 


Oboe 


Feet 

4 

4 

2 

16 
8 
8 


(Nos.  3,  4,  5,  7,  8,  11,  12,  and  13  may  also  be  drawn 
on  the  Solo  Manual.) 

©ttjan  (61  notes) 


Feet 

1.  Stentorphone  . . 8 

2.  Philomela  ...  8 

3.  Dulcet  (2  ranks)  8 

4.  Flute 4 


Feet 

5.  Tuba  ^ f 16 

6.  Tuba  >85  pipes  ■<  8 

7.  Tuba  ) (4 

8.  Tuba  Mirabilis  . 8 


(Nos.  5,  6,  and  7 may  be  drawn  on  the  Great  Manual.) 


Jlr&al  ©rgau  (32  notes) 


Feet 

1.  Diapason  ...  32 

2.  First  Diapason  . 16 

3.  Second  Diapason  16 

4.  Violone  ....  16 

5.  First  Bourdon  . 16 

6.  Second  Bourdon  16 
(From  Swell,  No.  1.) 

7.  Dulciana  ....  16 

(From  Choir,  No.  1.) 

8.  Quinte  . . . .10  2-3 

9.  First  Flute  ...  8 


Feet 


10.  Second  Flute  . . 8 

11.  Viola 8 

12.  Gedackt  ....  8 

13.  ’Cello 8 

(From  Swell,  No.  9.)- 

14.  Flute 4 

15.  Bombarde  ...  32 

16.  Ophicleide  ...  16 

1 7.  Trombone  ...  16 

(From  Solo,  No.  5.) 

18.  Tromba  ....  8 


SW  ©MAN 

The  organ  has  twenty-nine  couplers,  thirty-three 
combination  pistons,  most  of  them  being  duplicated 
by  pedals,  a balanced  crescendo  pedal,  a sforzando 
pedal  and  great  and  swell  to  pedal  reversibles. 

The  Swell,  Choir,  and  Solo  Organs  are  enclosed 
in  separate  cement  swell  boxes. 

The  Great,  Choir,  and  part  of  the  Swell  and  Pedal 
are  voiced  on  six  inches  wind  pressure.  Nos.  2,  16, 

17,  18,  and  21  in  the  Swell,  Nos.  1 and  2 in  the  Pedal, 
and  the  flue  work  of  the  Solo  organ  are  on  ten  inches. 

Nos.  5,  6,  and  7 in  the  Solo  are  on  fifteen  inches, 
and  No.  8 in  the  Solo  and  Nos.  15,  16,  and  18  in  the 
Pedal  on  twenty-five  inches. 

Movable  console.  Electro-pneumatic  action. 


ii«t  ©SUSAN 


College  of  the  City  of  New  York* 
Department  of  Music, 

July  14,  1908. 

My  dear  Mr.  Skinner: 

I want  to  express  to  you  my  very  great  satis- 
faction in  what  you  have  accomplished  with  the 
organ  in  the  Great  Hall  of  the  City  College. 

The  comprehensive  scheme  of  the  instrumenty 
together  with  its  superb  environment , gave  you  an 
opportunity  such  as  few  builders  have  had.  It  is 
not  too  much  to  say  that  this  opportunity  has  been 
fully  met  by  you. 

We  had  planned  and  hoped  for  an  organ  which 
should  be  notable  among  the  great  concert  organs 
of  the  world.  This  you  have  given  us , and  our 
hopes  and  expectations  have  been  more  than  realized. 

The  work  is  your  masterpiece. 

Where  so  much  is  fine , it  is  hard  to  particularize. 
It  would  be  difficult  to  say  in  which  department  the 
organ  is  finest,  but  there  is  a balance  and  blending 
of  all  parts  which  leaves  nothing  to  be  desired. 

If  I were  asked  to  name  the  points  in  which  this 
instrument  is  notable , I would  mention , among 
other  things , the  remarkable  brilliancy  of  the  full 
Swell , the  dignity  of  the  Diapasons , the  superb 
Pedal  organ , the  smoothness  of  the  Reeds , includ- 
ing the  great  Tuba  Mirabilis , which  is  the  crown 
of  the  organ , and  not  forgetting  its  accompanying 
Pedal  reed  of  thirty-two  feet  the  Bombarde , which 
is  certainly  not  surpassed  in  the  world. 

To  splendid  tone  qualities  we  must  add  a mechan- 


iiffit  ©8®A5i 

ism  which  is  well-nigh  flawless.  In  three  months 
of  recitals  nothing  went  wrong.  This  speaks  vol- 
umes for  correctness  of  mechanical  principles  and 
perfection  of  workmanship. 

I most  heartily  congratulate  and  thank  you  for 
what  you  have  achieved. 

Faithfully  yours , 

(Signed)  SAMUEL  A.  BALDWIN , 
H e ad , Department  of  Music. 


We  have  received  permission  from  Mr.  Lemare  to 
print  the  following  private  letter: — 


New  York,  Sept.  24,  1908. 

My  dear  Mr.  Skinner: 

I have  had  an  opportunity  this  week  of  trying 
your  fine  organ  in  the  City  College , and  my  admira- 
tion and  enthusiasm  for  its  beautiful  tone  lead  me 
to  write  you  this  letter. 

You  have  not  only  given  them  big  tone , but  also 
infinite  variety , in  the  way  of  tone-color , in  the 
softer  stops , some  of  which , I must  say , are  most 
exquisitely-voiced. 

While  there  are  some  things  with  regard  to  the 
Console  arrangements  which  I do  not  approve , 
yet  I feel  I should  be  unjust  if  I let  this  interfere 
with  my  general  criticism  of  the  work  as  a whole. 

You  have  certainly  triumphed  beyond  my  ex- 
pectations, and  have  given  the  people  of  this  great 


WMk® 

city  an  organ  of  which  the  whole  country  may 
well  be  proud. 

I am  sorry  to  hear  that  you  have  been  so  ill , and 
I sincerely  hope  that  you  may  soon  be  fully  restored 
to  health , and  able  to  continue  a successful  and 
artistic  career , such  as  I am  convinced  is  in  front 
of  you. 

With  sincere  compliments , 

I am , 

Tours  very  truly , 

{Signed)  EDWIN  H.  LEM  ARE. 


New  York,  Sept  27,  1908, 

My  dear  Mr.  Skinner: 

You  have  asked  for  my  honest  opinion  of  the 
New  York  City  College  organ.  Here  it  is. 

Please  do  with  it  what  you  like. 

Yours  sincerely , 

{Signed)  CLARENCE  EDDY. 


New  York,  Sept.  17,  1908. 

My  dear  Mr.  Skinner: 

It  is  with  the  utmost  pleasure  that  I offer  my 
hearty  congratulation  ■ upon  your  magnificent  organ 
in  the  Great  Hall  of  the  New  York  City  College. 

I do  not  hesitate  in  saying  that  it  is  without 
exception  the  most  artistic  and  perfectly  balanced 
organ  I have  ever  heard. 

The  voicing  of  the  various  stops  has  been  done 


with  such  consummate  skill  that  not  only  is  each 
individual  diapason,  flute,  string,  and  reed  tone 
thoroughly  musical  and  characteristic , but  so  refined 
that  they  blend  superbly  each  with  the  other , and 
combine  into  a truly  harmonious  and  satisfying 
ensemble , while  the  effect  of  the  full  organ,  with  its 
brilliant  tonal  lustre , is  absolutely  inspiring. 

Certain  string  and  reed  tone  stops , like  the  Dulcet, 
Vox  Celestis  Unda  Maris,  and  Orchestral  Oboe, 
possess  a peculiar  charm  which  makes  them  most 
distinguished , but  they  are  well  matched  by  the 
wonderful  dignity  and  purity  of  the  Diapasons 
and  the  Tubas. 

From  a player  s standpoint  the  action  and  me- 
chanical accessories  controlling  to  perfection  this 
splendid  instrument  leave  nothing  to  be  desired , 
but  are  alike  thoroughly  admirable . 

I am  with  warmest  regards , 

Tours  most  sincerely , 

{Signed)  CLARENCE  EDDY. 


Brooklyn,  N.Y.,  Aug.  io,  1908. 

Dear  Mr.  Skinner: 

City  College  organ  is  the  one  instrument  in  this 
country  where  beautiful  quality  is  combined  with 
overwhelming  grandeur  of  tone  such  as  is  heard 
only  in  the  Cathedrals  of  England. 

Tours  sincerely , 

(Signed)  SCOTT  WHEELER. 


mm  WMK® 


New  York,  Feb.  3,  1907. 

My  dear  Mr.  Skinner: 

Whenever  I am  called  upon  to  play  one  of  your 
organs , it  is  with  a deep  satisfaction  that  I compose 
my  programme.  I know  that  every  stop  has  an 
artistic  value:  be  it  soft  or  loud , each  one  is  an 
eloquent  voice;  and , whatever  may  be  the  character  of 
the  composition  I choose  to  perform , I know  that 
I will  find  the  tone  quality  which  will  bring  it  out. 
The  touch  of  your  organs  is  delightful,  and  one  feels 
perfect  comfort  when  seated  at  the  desk , — a feature 
for  which  the  organists  will  thank  you. 

With  best  wishes  for  your  future  success , I remain 
Tours  cordially , 

(Signed)  GASTON  M.  DETHIER . 


WALTON 

ADVG.  & PTG.  CO. 
BOSTON,  MA8S. 


